Kay Dickinson

Film Studies: A Global Introduction reroutes film studies from its Euro-American focus and canon in order to introduce students to a medium that has always been global but has become differently and insistently so in the digital age.Glyn Davis, Kay Dickinson, Lisa Patti and Amy Villarejo’s approach encourages readers to think about film holistically by looking beyond the textual analysis of key films. In contrast, it engages with other vital areas, such as financing, labour, marketing, distribution, exhibition, preservation, and politics, reflecting contemporary aspects of cinema production and consumption worldwide.Key features of the book include: clear definitions of the key terms at the foundation of film studies coverage of the work of key thinkers, explained in their social and historical context a broad range of relevant case studies that reflect the book’s approach to global cinema, from Italian "white telephone" films to Mexican wrestling films innovative and flexible exercises to help readers enhance their understanding of the histories, theories, and examples introduced in each chapter an extensive Interlude introducing readers to formal analysis through the careful explication and application of key terms a detailed discussion of strategies for writing about cinemaFilms Studies: A Global Introduction will appeal to students studying film today and aspiring to work in the industry, as well as those eager to understand the world of images and screens in which we all live.

Since its release in 1976, ABBA's song "Fernando" has been loved by fans around the globe, both for its sing-along chorus and its revolutionary spirit. In Fernando, Kay Dickinson takes readers from Sweden and Chile to Australia and Poland, tracing the complicated ways the song could express support with anticapitalist and Third World liberation struggles while remaining an unrepentant commodity. A song about freedom fighters was unlikely to become a pop mega-hit, yet, as Dickinson demonstrates, ABBA's lucrative, longstanding appeal rests on their ability to bridge contradictions within everyday life. Five decades later, "Fernando's" rousing calls for freedom continue to resonate with gay liberation movements and other social struggles, demonstrating how a song can be both revolutionary and an envoy for global capital.

Since its release in 1976, ABBA's song "Fernando" has been loved by fans around the globe, both for its sing-along chorus and its revolutionary spirit. In Fernando, Kay Dickinson takes readers from Sweden and Chile to Australia and Poland, tracing the complicated ways the song could express support with anticapitalist and Third World liberation struggles while remaining an unrepentant commodity. A song about freedom fighters was unlikely to become a pop mega-hit, yet, as Dickinson demonstrates, ABBA's lucrative, longstanding appeal rests on their ability to bridge contradictions within everyday life. Five decades later, "Fernando's" rousing calls for freedom continue to resonate with gay liberation movements and other social struggles, demonstrating how a song can be both revolutionary and an envoy for global capital.

Why are big budget films typically made across an array of seemingly dissociated sites? Supply Chain Cinema shows how the production journeys of such films exemplify the principles of the supply chain, whose core imperative is to nimbly and opportunistically manufacturing wherever is most amenable and efficient.Through extensive on-site investigations and in-depth interviews with film professionals, Kay Dickinson delivers nuanced insight into working practices in the UK and the UAE. Among the sites she examines is Warner Bros’ permanent base at Leavesden Studios near London. From tax breaks designed to attract foreign projects to infrastructures, logistical support and expertise offered, she considers why Hollywood giants elect to make more of their films in Britain than in the USA. Dickinson goes on to show how the UK’s ambitions to enlarge its creative economies has opened up a host of competitive advantages with British higher education increasingly fashioned to conform to the needs of border-hopping enterprise, thus generating a workforce keenly adapted to the demands of blockbuster moviemaking.

Why are big budget films typically made across an array of seemingly dissociated sites? Supply Chain Cinema shows how the production journeys of such films exemplify the principles of the supply chain, whose core imperative is to nimbly and opportunistically manufacturing wherever is most amenable and efficient.Through extensive on-site investigations and in-depth interviews with film professionals, Kay Dickinson delivers nuanced insight into working practices in the UK and the UAE. Among the sites she examines is Warner Bros’ permanent base at Leavesden Studios near London. From tax breaks designed to attract foreign projects to infrastructures, logistical support and expertise offered, she considers why Hollywood giants elect to make more of their films in Britain than in the USA. Dickinson goes on to show how the UK’s ambitions to enlarge its creative economies has opened up a host of competitive advantages with British higher education increasingly fashioned to conform to the needs of border-hopping enterprise, thus generating a workforce keenly adapted to the demands of blockbuster moviemaking.

Arab Film and Video Manifestos presents, in their entirety, five key documents that have fundamentally shaken up and helped change the face of image culture in the Middle East and beyond. The book collects together, for the first time, these influential, collectively written calls and directives that span a fifty-year period and hail from a range of different countries. Each urges a radical rethinking of film and video’s role in culture, its relation to politics, and its potential to instigate profound change. Kay Dickinson carefully positions the manifestos within their broader socio-historical contexts and provides supplementary reading and viewing suggestions for readers who cannot access Arabic-language sources.